A ballerina at the height of her powers becomes consumed with finding her missing brother in this “striking debut” (Oprah Daily). “A compelling novel about the spiritual and bodily costs of the dogged pursuit of art.”—Raven Leilani, author of Luster At twenty-two years old, Cece Cordell reaches the pinnacle of her career as a ballet dancer when she’s promoted to principal at the New York City Ballet. She’s instantly catapulted into celebrity, heralded for her “inspirational” role as the first Black ballerina in the famed company’s history. Even as she celebrates the achievement of a lifelong dream, Cece remains haunted by the feeling that she doesn’t belong. As she waits for some feeling of rightness that doesn’t arrive, she begins to unravel the loose threads of her past—an absent father, a pragmatic mother who dismisses Cece’s ambitions, and a missing older brother who stoked her childhood love of ballet but disappeared to deal with his own demons. Soon after her promotion, Cece is faced with a choice that has the potential to derail her career and shatter the life she’s cultivated for herself, sending her on a pilgrimage to both find her brother and reclaim the parts of herself lost in the grinding machinery of the traditional ballet world. Written with spellbinding beauty and ballet’s precise structure, Dances centers around women, art, and power, and how we come to define freedom for ourselves.
A ballerina at the height of her powers becomes consumed with finding her missing brother in this “striking debut” (Oprah Daily). “A compelling novel about the spiritual and bodily costs of the dogged pursuit of art.”—Raven Leilani, author of Luster At twenty-two years old, Cece Cordell reaches the pinnacle of her career as a ballet dancer when she’s promoted to principal at the New York City Ballet. She’s instantly catapulted into celebrity, heralded for her “inspirational” role as the first Black ballerina in the famed company’s history. Even as she celebrates the achievement of a lifelong dream, Cece remains haunted by the feeling that she doesn’t belong. As she waits for some feeling of rightness that doesn’t arrive, she begins to unravel the loose threads of her past—an absent father, a pragmatic mother who dismisses Cece’s ambitions, and a missing older brother who stoked her childhood love of ballet but disappeared to deal with his own demons. Soon after her promotion, Cece is faced with a choice that has the potential to derail her career and shatter the life she’s cultivated for herself, sending her on a pilgrimage to both find her brother and reclaim the parts of herself lost in the grinding machinery of the traditional ballet world. Written with spellbinding beauty and ballet’s precise structure, Dances centers around women, art, and power, and how we come to define freedom for ourselves.
A critique of attempts by conservative eighteenth- and nineteenth-century authors to appropriate the rhetoric of victimhood and appeals to "rights" to safeguard the status of the powerful. As revolution and popular unrest roiled the final decades of the eighteenth century, authors, activists, and philosophers across the British Empire hailed the rise of the liberal subject, valorizing the humanity of the marginalized and the rights of members of groups long considered inferior or subhuman. Yet at the same time, a group of conservative authors mounted a reactionary attempt to cultivate sympathy for the privileged. In Defending Privilege, Nicole Mansfield Wright examines works by Tobias Smollett, Charlotte Smith, Walter Scott, and others to show how conservatives used the rhetoric of victimhood in attempts to convince ordinary readers to regard a privileged person's loss of legal agency as a catastrophe greater than the calamities and legally sanctioned exclusion suffered by the poor and the enslaved. In promoting their agenda, these authors resuscitated literary modes regarded at the time as derivative or passé—including romance, the gothic, and epistolarity—or invented subgenres that are neglected today due to widespread revilement of their politics (the proslavery novel). Although these authors are not typically considered alongside one another in scholarship, they are united by their firsthand experience of legal conflict: each felt that their privilege was degraded through lengthy disputes. In examining the work of these eighteenth- and early nineteenth-century authors, Wright traces a broader reactionary framework in the Anglophone literary legacy. Each novel seeks to reshape and manipulate public perceptions of who merits legal agency: the right to initiate a lawsuit, serve as a witness, seek counsel from a lawyer, and take other legal actions. As a result, Defending Privilege offers a counterhistory to scholarship on the novel's capacity to motivate the promulgation of human rights and champion social ascendance through the upwardly mobile realist character.
WINNER • 2022 PULITZER PRIZE IN HISTORY Finalist • National Book Award for Nonfiction Best Books of the Year • TIME, Smithsonian, Boston Globe, Kirkus Reviews The Pulitzer Prize-winning history that transforms a single event in 1722 into an unparalleled portrait of early America. In the winter of 1722, on the eve of a major conference between the Five Nations of the Haudenosaunee (also known as the Iroquois) and Anglo-American colonists, a pair of colonial fur traders brutally assaulted a Seneca hunter near Conestoga, Pennsylvania. Though virtually forgotten today, the crime ignited a contest between Native American forms of justice—rooted in community, forgiveness, and reparations—and the colonial ideology of harsh reprisal that called for the accused killers to be executed if found guilty. In Covered with Night, historian Nicole Eustace reconstructs the attack and its aftermath, introducing a group of unforgettable individuals—from the slain man’s resilient widow to an Indigenous diplomat known as “Captain Civility” to the scheming governor of Pennsylvania—as she narrates a remarkable series of criminal investigations and cross-cultural negotiations. Taking its title from a Haudenosaunee metaphor for mourning, Covered with Night ultimately urges us to consider Indigenous approaches to grief and condolence, rupture and repair, as we seek new avenues of justice in our own era.
Hog Hammock, located on Georgia's Sapelo Island, is only accessible by ferry or private boat. It is one of the last island-based Gullah-Geechee communities in America--a living connection to West African languages, folkways, and spiritual traditions. With its dirt roads and tin-roofed houses, Hog Hammock is the site of a social hall, two historic Baptist churches, and a former schoolhouse, all built by descendants of slaves. The nearby Behavior Cemetery has burial sites that date back 200 years. Much has been written about the people of Hog Hammock and Sapelo Island, mostly documenting their lives as slaves and then as landowning free people working for millionaires who reshaped Sapelo Island into their own personal retreats. But there is another part of the island's story, one filled with entrepreneurs, skilled craftsmen, and community leaders, that is told here in Images of America: Sapelo Island's Hog Hammock.
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